Romanticism Terms
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21 terms
Terms | Definitions |
|---|---|
 Enlightenment | the era in Western philosophy, intellectual, scientific and cultural life, centered upon the 18th century, in which reason was advocated as the primary source for legitimacy and authority. |
| Romanticism | An artistic and intellectual movement originating in Europe in the late eighteenth century and characterized by a heightened interest in nature, emphasis on the individual's expression of emotion and imagination, departure from the attitudes and forms of classicism, and rebellion against established social rules and conventions. |
| Iambic and Trochaic | types of meter. (first word) unstressed-stressed, e.g. I came, I saw, I conquered. (second word) stressed-unstressed, e.g. Tyger, Tyger, burning |
| Quid pro quo | An equal exchange or substitution. |
| sonnet | A fourteen-line verse form usually having one of several conventional rhyme schemes. |
| Tenor and vehicle | (first word) the word, phrase, or subject with which the concrete reference (second word) of a metaphor is identified, as life in "Life's but a walking shadow" (Shakespeare). |
| End-stopped and enjambed | (second word) the breaking of a syntactic unit (a phrase, clause, or sentence) by the end of a line or between two verses. It is to be contrasted with (first word), where each linguistic unit corresponds with a single line, and caesura, in which the linguistic unit ends mid-line. The term is directly borrowed from the French term meaning "straddling" or "bestriding." |
| Couplet (heroic and open) | Two lines together, whether they rhyme or not; A closed form of this word consists of two end-stopped lines (the first line does not extend into the next); the other type of this term, in contrast, is enjambed. |
| Tercet | Three lines together, whether they rhyme or not |
| Quatrain | Four lines together, whether they rhyme or not |
| Refrain | any line repeated in between various stanzas. Generally, these units are most meaningful in metrical verse, but free-verse writers use them knowingly as well |
| Self-reflexivity | A moment in a work of art in which the artist refers to the production of the art itself |
| Surreal | Having an oddly dreamlike quality |
| Chiasmus | A rhetorical inversion of the second of two parallel structures, as in "Each throat/Was parched, and glazed each eye" (Samuel Taylor Coleridge). |
| Frame narrative | a story in which another story is enclosed or embedded as a "tale within the tale." |
| Narrative poem | poetry that has a plot |
| myth | A traditional, typically ancient story dealing with supernatural beings, ancestors, or heroes that serves as a fundamental type in the worldview of a people, as by explaining aspects of the natural world or delineating the psychology, customs, or ideals of society |
| ode | lyric poem of some length, usually of a serious or meditative nature and having an elevated style and formal stanzaic structure. |
| Kinetic imagery | the imagery of movement |
| Negative capability | the phrase used by the English poet John Keats to describe the quality of selfless receptivity necessary to a true poet. In a letter to his brothers (December 1817), he writes: "at once it struck me, what quality went to form a Man of Achievement especially in Literature & which Shakespeare possessed so enormously—I mean (word), that is when man is capable of being in uncertainties, Mysteries, doubts, without any irritable reaching after fact & reason." |
| Dialectic | a form of thinking or description of thinking in which one term is always defined against its opposite. That oppositional pair operates interactively to creative meaning, eventually forming a third, middle term, which has its own counterpart. This type of thinking can be seen as a way to escape rigid categorical thinking. It is seen as a manner of thinking or of describing thinking that shows constant movement in the interaction between terms, i.e. meaning is never stable; it's always in flux because it's always in interaction with other meanings. |
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